“Sing Sing” Review

Colman Domingo (Left) and Clarence “Divine Eye” Maclin portray prisoners who share a love of acting and theatre in “Sing Sing”.

I don’t think I’m saying anything new when I make the bold statement that our prison system is broken. Utilizing borderline slave labor, numerous private prisons, in addition to those controlled by the government, make money off of the backs of inmates with zero regard for their rehabilitation resulting in high incarceration rates and The United States having the largest prison population per capita in the world. This isn’t new information yet we continually allow this system to go on because why should we give a damn about prisoners? This is why a film like “Sing Sing” hits so hard. It not only asks the audience to care about those that society has tossed aside but it also showcases a program that has made phenomenal strides in bringing out the gifts of inmates. 

Set in the titular New York maximum security prison, the film centers on a group of prisoners who are a part of Rehabilitation Through the Arts: a troupe that stage plays to get its members in touch with their feelings. Led by John “Divine G” Whitfield (Colman Domingo), an accomplished writer and actor in the group, and directed by volunteer Brett Buell (Paul Raci), the Sing Sing chapter of RTA begins work on a new, ambitious, original production that will require the talents of many new actors. One novice member of the group, Clarence “Divine Eye” Maclin (playing himself), is especially excited to have a dramatic role in the production and a complex and close friendship forms between G and Eye as they navigate the dramatic process. 

With the exceptions of Domingo and Raci, most of the cast members of “Sing Sing” are alumni of the real chapters of RTA which operates in six prisons in New York. By doing this, writer/director Greg Kweder and writer Clint Bentley are able to make a story that feels authentic in its depiction of the program and of life in prison. Besides starring in the film, Clarence “Divine Eye” Maclin also worked with Kweder and Bentley on the film’s story alongside the real John “Divine G” Whitfield. Maclin’s performance is nothing short of fantastic with its raw energy. While enthusiastic about being in the troupe, Divine Eye still is holding onto the aggression that he has harnessed to survive in prison that he must let go of. It is through this struggle that a compelling relationship forms between Eye and G. 

Coming off of an acclaimed performance in “The Color Purple” and his Oscar-nominated turn in “Rustin”, Colman Domingo continues to soar with his excellent portrayal. His leadership role within the group makes Divine G a compelling center to the film. The confidence Domingo displays is intoxicating and, like the prisoners Divine G works with, makes you feel like you can take on any role and step onto the stage with all the power in the world. Alongside Paul Raci’s excellent work as the troupe’s director, Domingo brings a nurturing presence which is expertly juxtaposed with the insecurities of G’s personal life as he tries to fight his conviction of which he insists he’s innocent. 

While Divine G is fighting his incarceration through appeals, many of the members of RTA have admitted their crimes. It’s clear that one of the goals of “Sing Sing” is to get the audience to sympathize with these people regardless of whether they were innocent or guilty of the crimes they were convicted of and it certainly succeeds. The depiction of these men is beautiful and the way these actors play them speaks volumes about how well the program impacted them while they were incarcerated. This isn’t just for a paycheck and acting isn’t a game to these people. In many ways, acting was their salvation when others were all too willing to give up on them. Now they’re paying it forward by letting the whole world know about RTA.

But with many of the actors being former RTA members, it begs the question of why wasn’t this film a documentary? Well, besides being able to look more cinematic with storyboarded shots and more elegant editing, “Sing Sing” is able to get closer and more personal than would be possible when filming inside an actual maximum security prison. By relying heavily on personal experience while crafting a fictional story, “Sing Sing” is able to embody the best of both documentary and narrative film.

The film also bolsters an excellent portrayal of the creative process. Over the course of “Sing Sing’s” 1-hour-and-45-minute runtime, the film carefully shows how a production comes together from auditions to performance and it’s very easy to find yourself wrapped up in the stakes of this play. You want to see this happen but there’s also an underlying fear that someone will cut the funding as so often happens to prison programs that actually help inmates. As the play comes together, you truly get to see who these men are. They’re not prisoners or criminals or thugs or whatever label has been ascribed to them. These are artists in their natural environment and it’s a beautiful thing to witness. 

There are many things I hope audiences take away from “Sing Sing”. I hope that it emotionally resonates with them as it did for me. I hope that it educates the audience about the real life RTA program. I hope it showcases how important the arts are. But most importantly, I hope that “Sing Sing” evokes compassion and shows how, even in the most unlikely of places, great artists with complex yet endearing souls can be found.